VAMPYRIA

VAMPYRIA is an amazing show. It's violent and tender. It has electrifying music, subtle humour and explicit eroticism. Its spectators must be adults preferably.

VAMPYRIA shares XIX century symbolistic imagination with the characteristics of classic and modern horror cinema. Being absolutely a live performance, it recalls three dimensions films full of shaking action and amplitude.
Everything can be seen it's craftsmanship made in TEATRO CORSARIO'S own workshops.

VAMPYRIA arises from a Jesus Peña's theater play feeded by the old vampire literature (Gautier, Tolstoi, Dumas, Goethe).
VAMPYRIA rounds over the vamp; mythical monster, like the fluttering sirens (mermaids) who seduced Ullyses; mantis-woman, lover-eater.
She's the "natural woman" who impressed Baudelaire; the terrific dead woman in love who is converted, by the way of symbolist painters on theirs own desire's animal image.

The plot is this:

Once Upon a night, almost a century ago on a battlefield, soldier Sergei is trying to save from the death´s arms to a beatiful woman called Sdenka, pulling of the stake that is piercing her.
Sdenka dies, resuscitates and falls in love with him. From this moment, she can´t feed with another blood but his, she chases him.
The war is over, and far from there Sergei marries Lisa, his bride.
Sdenka can't help that her own body be more and more a big mantis' body capable of devouring the man who stole her heart.

PHOTOS

CARD AND TECHNICAL CONDITIONS

A mixed bag of mime
By Donald Hutera
Anything goes when it comes to mime, as our critic discovers at this year's London Festival

THE 25TH EDITION of the London International Mime Festival is only just half over, but already it has shown us that modern mime, post-Marcel Marceau, is about as wide a theatrical umbrella as exists. This flexible, genre-bending art form encompasses dance, juggling, clowning, text, circus, puppetry, animation, sculpture — basically, anything that falls under the banner of physical and visual theatre.

This past week’s festival fare also demonstrated how handily the mime tag can be attached to either rollicking family entertainment or strictly adult escapades. Representing the latter department was the outrageously jaunty danse macabre of Vampyria, by Spain’s Teatro Corsario. Staged at the ICA, this visceral, X-rated period piece put impressively large-scale puppets at the service of a revoltingly funny tale of violent sexual passion.

Riding his horse across a battlefield one dark, stormy night, our soldier-hero is obstructed by a beautiful blonde with a tall stake protruding from her bare chest. He promptly gives her one last kiss before she dies. Mistake. The creature comes back to undead life with the ghastly aim of securing his heart, quite literally, for herself.

Created and directed by Jesús Peña, this demented allegory about the power/pain of love/lust featured lovely moth-like cupids, the hero sporting a vivid erection, and a spot of cunnilingus during which the recipient’s giant spider legs ecstatically slap the do-er’s bottom. Abetted by a witty pre-recorded soundtrack, Peña and his black-clad cohorts brought real flair and even a dash of emotional ambiguity to their sacrilegious trash sensibility.